The Thief of Bagdad (1924)

A publicity image which, like the film itself, combines realism with expressive
artifice to create a vibrant fantasy world.

The Thief of Bagdad is, by far and away, the most visually impressive of Fairbanks' films. Massive sets, elaborate costumes, state of the art special effects, and a cast of thousands make for one of the biggest and most spectacular films of its day. Visually, it is a veritable feast of loveliness, although its creative effects never for an instant look real. When Fairbanks slays a dragon, flies through the air on a winged horse, or visits mermaids at the ocean floor, it is evident that these feats are achieved through a composite of models and camera tricks. But then, this is fantasy. The point is to look beautiful, not real.

The Big Trail (1930)

70mm Fox Grandeur was a beautiful thing

Watching Raoul Walsh's The Big Trail, I am troubled by two persistent questions for which, I fear, there can be no satisfactory answer. If they could make movies that looked and sounded like that back in 1930, why didn't they make more of them? And of course, why did it take Hollywood nearly ten years to realize what a powerhouse they had in John Wayne?